A reverie on the music of Charlie Parker and the human condition
Jazz Communion 2019
9/1/19
9/1/19
It was a busy night at Billy
Berg’s nightclub, especially for a Monday in early December. The Hollywood club
was packed with movie stars, raconteurs, hipsters, and glitterati, all of them leaning
forward to hear a new kind of jazz.
While America fought a World
Ware on two fronts in Europe and the South Seas, there had been another
revolution brewing. The pop music of Glenn Miller and Benny Goodman lifted the
spirits of a nation at war, but a small group of creative souls declared that
music boring. So they sped up the tempos, stirred dissonance into the
harmonies, and created new melodies that had sharp angles in them. They
called it “bebop” or “rebop” or simply “bop.”
People in California had never
heard anything like this. So Billy Berg was doing something slick when he invited
two New York revolutionaries, Dizzy Gillespie and Charlie Parker, to bring this
new music to his club for an extended engagement. They were the Bee’s knees,
the cat’s whiskers, the fox’s socks, and the crème de la creme. In fact, that’s
how the beboppers talked.
So it’s opening night in Hollywood.
The lights go down, the announcer steps up to the microphone, and Dizzy counts
off the first tune. It’s thrilling, it’s fast. But where’s Charlie Parker?
At great expense, Billy Berg had
hired Dizzy to bring a quintet to California. He paid for travel and rooms. There
are five musicians onstage, but Charlie “the Bird” Parker is not one of them. It
seems Dizzy had hired an additional musician, vibraphonist Milt Jackson, to
fill in the band. The Bird had a reputation for not showing up. Or at least,
not showing up yet.
While the band performs, Bird is
backstage in the dressing room. He’s just finished polishing off a huge meal of
Mexican food, the Deluxe Comida Conquistador dinner: tacos, enchiladas, tamales,
tostadas, black beans and rice, guacamole and two kinds of salsa. There are
three empty beer bottles on the counter. Bird wipes his beak, gives a quiet
belch, and then orders a second Deluxe Comida Conquistador dinner. “While you’re
at it,” he says, “find me a bottle of whiskey.” The band will have to keep
going without him. Bird’s still hungry.
Dizzy Gillespie is accustomed to
this behavior. That’s why he hired a sixth musician for his quintet. When the second
set is almost over, Bird pushes back the empty plates and bottles from his
second Mexican banquet, straps on his saxophone, and wanders out to the back of
the club. As the musical set builds to a furious climax, suddenly there’s a
flurry of saxophone notes. The nightclub air bursts into musical flame as
Charlie Parker hurls his notes into the atmosphere.
The tune explodes, then concludes, the crowd leaps
to its feet in applause, the musicians nod in appreciation, and Dizzy murmurs
to Bird, “Don’t ever pull a stunt like that again.” He knows full well it could
happen again tomorrow.[1]
You know, there’s a great risk
in playing jazz. You set the tempo and step out on a tightrope. It’s not music
for those who want to play it safe.
There’s a greater risk in
playing jazz in church. Some onlookers might be drawn like moths to a flame, believing
this is edgy and cool; they might not come on a regular Sunday, but they’ll
come for something like this. Meanwhile, the pious and upright regulars fear a
holy God might blast the whole thing to bits.
For me, the greatest risk of all
is playing the jazz of Charlie Parker in church because that great musician had
a complex and complicated life. Spiritually speaking, he was a mess. In all
kinds of ways, he was a failure as a grownup. He was charming yet manipulative,
brilliant yet caustic. Bird blew up every relationship in his life, including
his friendship with Dizzy Gillespie.
The gig in Hollywood was cancelled
prematurely, partly because of Bird’s stunts. And when Dizzy and the others flew
back to New York, Bird never made the flight. He had cashed in his plane ticket
to buy a few fixes of heroin. That addiction had enslaved him since the age of fifteen
and would last until his death from cirrhosis and alcohol-induced pneumonia at 34.
Yet there was no greater
saxophonist in the history of American music. None greater. Even John Coltrane
thought so. Can you imagine holding together the paradox of such a life?
After Dizzy Gillespie quit and
couldn’t take it anymore, Miles Davis started working with Charlie Parker. In
his memoirs, Miles writes,
I never understood why he
did all the destructive (stuff) he used to do. Bird knew better. He was an intellectual.
He used to read novels, poetry, history, stuff like that. And he could hold a
conversation with almost anybody on all kinds of things. So the (guy) wasn’t
dumb or ignorant or illiterate or anything like that. He was real sensitive.
But he had this destructive streak in him… He was a genius and most geniuses
are greedy. [2]
So it’s an appropriate day to
reflect on what it means to be human. To be a genius but greedy. To be talented
yet needy. To be beautiful but broken. To be enormously capable and deeply
flawed. Some of us might see a reflection of ourselves, and I’m here to tell
you that’s OK.
We have heard two scripture
texts that explain the human situation, as long as we hold them in tension. Psalm
8 offers the most affirming words in the Bible. "Who are we, Lord, that you pay
us any attention?” The answer: you are children of the Most High, created in
the divine image, endowed with holy creativity.
As the Psalmist sings to heaven about the human family, “You have made them a little lower than God and crowned them with glory and honor. You have given them dominion over the works of your hands and put all things under their feet.” (Psalm 8:5-6)
There isn’t a more noble description of humanity in all of scripture.
As the Psalmist sings to heaven about the human family, “You have made them a little lower than God and crowned them with glory and honor. You have given them dominion over the works of your hands and put all things under their feet.” (Psalm 8:5-6)
There isn’t a more noble description of humanity in all of scripture.
Yet, not far from the book of
Psalms is the book of Ecclesiastes. A wise old sage reflects on all that he has
spent his life scrambling to attain. He concludes, “It’s like reaching for
smoke.” It’s been a vain and empty pursuit.
The poet says: I planted vineyards
for myself, cheered my body with wine, and created a lot of headaches. I made a
lot of money and it never made me happy. I enjoyed the “delights of the flesh” but
I never knew love. So I worked harder, surpassed
all others, and did not deny myself any pleasure. Then I watched as it all turned
to sand and slipped through my fingers.
A lot of people avoid the wisdom
of Ecclesiastes. They say it’s a downer. I disagree. It’s an honest corrective
to self-indulgence. It’s a reminder that life is not a banquet of chocolate
cake; if you’re going to be healthy, you must eat the broccoli, too.
Ecclesiastes is a hand raised in objection to the children of God who think they can live without limits, only to find themselves consumed by all the consumption. It is a word of wisdom for those tempted toward the foolishness of burning themselves out. It’s a well-placed Yield sign to those who thought they can speed past the warning signs of self-destruction.
Ecclesiastes is a hand raised in objection to the children of God who think they can live without limits, only to find themselves consumed by all the consumption. It is a word of wisdom for those tempted toward the foolishness of burning themselves out. It’s a well-placed Yield sign to those who thought they can speed past the warning signs of self-destruction.
There’s nothing new about this,
for the Bible understands who we are. Earlier in the Jewish Bible, the people conspire
to reach heaven by building a big tower; heaven laughs, the Tower of Babel
falls, and the people end up all the more confused.
It’s not only in the Bible.
There’s the old Greek myth of Icarus, who constructs wings of wax to fly into
the sky, only to soar too close to the sun where the wax wings melt. Or there’s
the more recent question posed by Michael Crichton in his story of Jurassic Park:
So you have the technology to clone a tyrannosaurus rex, but why would you want
to? What were you thinking?
If we hold all of this together,
we hear the invitation to restraint, to build a more measured view of what it
means to be a human being. Yes, we were created a little less than God, empowered,
equipped, hovering near the pantheon of angels. But we are still hungry, hungry
for something that a third Mexican meal or some other quick fix will not
satisfy. It’s important to spend some time working through that hunger and to
never allow it to overtake us.
At the same time, there is deep
pleasure in claiming our dignity, reaching high, taking risks, and seeking enjoyment
in the thick of hard work. For in the end, we can only conclude what the wise
sage of Ecclesiastes concludes: that life is a gift, not an achievement, and we
will endure only by the grace and mercy of the God who is greater and kinder
than ourselves.
Let’s chew on this today, as the
bread is broken, the wine is poured, and the band breaks into the blues. All of
us have a hungry place in our souls. We try to fill it in a hundred ways and that
never quite works. So maybe today it’s enough to simply lean back and be
carried, to know we are loved, to welcome help from a really good friend, and
to give something extravagant to the people around us.
(c) William G. Carter. All rights reserved.
[2] Miles
Davis with Quincy Troupe, Miles: The Autobiography (New York: Simon and
Schuster, 1989), 76-77.